0 N.A.

Music: A.R. Rahman
Lyrics: Amitabh Bhattacharya
Music Label: EROS

Expectations:
The expectations are set high, with A.R. Rahman in charge and a Raj Kapoor clan member being launched. After all, Randhir Kapoor's Kal Aaj Aur Kal, Rishi's Bobby, Rajeev's Ek Jaan Hai Hum, Karisma's Prem Qaidi, Kareena's Refugee and Ranbir's Saawariya all had great music.

 

Music:
Taken by that exalted yardstick, Armaan Jain, Kapoor's grandson, gets the weakest musical debut.

 

The beginning is funky: 'Khalifa' rendered by Rahman himself with Shweta Pandit and Suzanne D'Mello is a pulsating foot-tapping track, with the lyrics representing carefree abandon. Some nonsensical interpolations, however, spoil the day despite the relentless beat and rousing tones.

 

The second track, 'Maaloom' (Rahman with Hriday Gattani and Jonita Gandhi) has a old Western flavour, with a slightly convoluted structure. The catchy, almost nursery-rhyme like simple riff that comes as the interlude, aids in the limited appeal of the song - while it lasts. Rahman experiments with some unique orchestration midway through the track that detracts and disturbs and we hope that it is a visually necessary deviation.

 

The third track, 'Ala Hada' (A.R.Rahman-Shiraz Uppal) has a bit of a puzzling element. Is this word supposed to be 'alhada' (which means 'exceptional' in all its connotations?). The surprising part is that Shiraz (from Pakistan) is a part of the song.

 

Amitabh Bhattacharya writes the ingenious lines, 'Tere bagair jeena lagta hai khaali / Dil hai magar seena lagta hai khaali' but has little to offer in this or any other song – in fact, this soundtrack is a sharp comedown for the increasingly versatile writer.

 

Nakash Aziz-Shweta Pandit's 'Dil Beqasoor' is well sung by Shweta, but the song is average. And why does Nakash's introductory section come in as a kind of an overlay, as if two radio channels of the past are playing divergent notes simultaneously? As an effect, it may work within the film, but the novelty lacks appeal. The lyrics are too metaphorical and lack any lingering quotient or connect.

 

We are left with two nonsensical tracks, the irreverent 'Mawali Qawwali' (Raghav Mathur-Tanvi Shah) with lines that go 'Mawali / qawwali / Tu phuljhadi aur main Diwali / Mawali qawwali / Makhmal badan, baatein rumaali', whatever they mean. In actual fact, rhyming 'mawali' (ruffian) with 'qawwali' (a devotional Islamic musical genre) is nothing short of demeaning, we feel.

The final track, 'Tu Shining' (Hriday Gattani) is an intentional piece of gobbledygook with words like 'Tu shining ekdam diamond ki tarah / O wait on jaan-e-man / Logic ki makkhi maaro boss / Iski boring hai sochas / Profit thing na zyaada loss / Deep arial se'. When one A.B. (Anand Bakshi) had penned a completely sensible song from old film titles strung up together in Ek Duuje Ke Liye, a saga of romance with newcomers in 1981, the new A.B. (Amitabh Bhattacharya) goes the reverse way in the same genre of film, by writing meaningless chatter strung from proper words!

 

Overall:
The music is intended to be cool and youthful, but frankly we see only a microcosm of GenY taking to it. The promotions will have to be strong and the film will have to do really well for some of the songs to do well, that too in passing!

 

Our Pick:
'Khalifa', 'Maaloom'